Written by Cheng-Cheng Li. My filmmaking story in Oceania started with the Re/presenting Oceania course at the University of Hawai‘i. My Kumu (professor) Tarcisius Kabutaulake, who comes from the Solomon Islands, has been teaching and researching across the region for decades. His course invites me to critically engage with and discuss how the Pacific Islands have been represented in scholarly and other mediums. He brings me onto the ‘voyage’ across the ‘storyscapes’ of scholars, artists, performers, poets, and filmmakers to understand the politics of representation. This article will first discuss my filmmaking experience in Hawai‘i with the Pacific Island community. In the second section, with an increasing number of Indigenous Taiwanese wishing to connect with Oceania, I will address the interconnection story between Taiwanese Indigenous filmmakers and the Oceanic community. The theme of ‘relationship’ as ‘Priority’ will be interwoven into the stories.
Written by Ti Wei. To solve the Taiwanese media problem, the first step is to recognise that the problem is unique and not like any other case in the world. Moreover, this problem could not be explained by any Western theories. Therefore, we need to carefully clarify and re-examine the nature of the problem and study society and the audiences thoroughly. Then, based on the re-acquainted knowledge, we may draw a new and reflective plan for rebuilding the media system. The only thing for sure is that it is neither commercial nor public in the Western sense. In addition, the latest development of media platformatisation and the new audience generation should be considered. The task is tough, but any endeavour to pay should be worthy when we think of how much hardship Taiwanese media have been through.
Written by Julia Marinaccio and Jens Damm. However, Taiwanese journalism also did its share. Like the political party system, Taiwan’s existing media landscape is ideologically divided over the question of how to fashion cross-Strait relations. Through their ideological orientation paired with a lack of investigative journalism, they act as mouthpieces of political parties. In doing so, they reinforce existing political cleavages rather than exercising their role as informants and watchdogs.
Written by Yu-peng Lin and Chang-de Liu. The development of over-the-top (OTT) media services is currently the main concern of Taiwan’s audiovisual industries. An OTT media service is an audiovisual streaming service provided directly to the audience by the Internet. The Taiwanese government wishes to strengthen this industry while also seeking balanced growth for international and local operators. For the latter, how to accelerate the production of their content in the face of global competition is the biggest concern. Furthermore, given the recent success of the Asian market, international operators are interested in co-producing content with Taiwanese companies.
Written by Ming-yeh T. Rawnsley; Yuan-hui Hu; Victoria Y. Chen; and Lihyun Lin. Crowdfunded journalism is no longer unfamiliar to Taiwanese people who care about the media ecosystem. Although journalism in Taiwan has been challenged by the powerful influences of political and business alliances in the news industry and the constant impact of ever-changing technological advances, crowdfunded journalism has provided a fresh possibility and lent financial assistance to independent media organisations and citizen journalism. All these undoubtedly positively affect the reconstruction of Taiwan’s news and media industry.
Written by Genevieve Leung. The Milk Tea Alliance was formed when Mainland Chinese social media users attacked two Thai celebrities to support pro-democracy protesters in Hong Kong and Taiwan independence activists. Thai social media users deployed humour to combat the attacks, and Taiwan and Hong Kong users joined in, using the shared custom of drinking milk tea, along with various minoritized statuses, as the cohesive forces that “naturally” drew them together.
Written by En-Chi Chang. ‘I started my day by putting on my Uniqlo LifeWear coat endorsed by Vivian Hsu. Then I headed out and stopped by 7-Eleven to buy a cup of City Coffee endorsed by Gui, Lun-Mei (桂綸鎂) for breakfast. Then, rushing to the MRT station, I used Open-chan(Open將) iCash card to take the MRT train to work. Though I do not have an ASUS ROG 5 designed by Nyjah Huston, my ACER endorsed by GBOYSWAG (鼓鼓) was just fine for work. After work, I decided to treat myself to a nice dinner at Eatogether endorsed by Accusefive (五告人). Then I went home and treated myself with a round of massage on my Fuji Massage chair endorsed by Ariel Lin (林依晨) while playing the game ‘Lineage II’ (天堂II) endorsed by Takeshi Kaneshiro (金城武).’
Written by Hsin-I Sydney Yueh. On November 13, 2021, NBA player Enes Kanter posted a Twitter message, stating that Taiwan is “not a part of China”; this particular video elicited a warm-hearted response from Taiwan’s President Tsai Ing-wen. She said, “Thank you, Enes, for standing with Taiwan and standing up for democracy.” Kanter quoted Tsai’s reply and said he wanted to “meet the brave people of Taiwan.”
Written by Chen-Yu Lin. While the presence of music is found mainly in the side events of TCCF, it implies that music is an effective and powerful medium to engage the public and bring publicity. However, the relationship between music and other cultural technologies is yet to be probed, problematized, and identified. While the influence of technologies is praised and habitually presented in a positive light in TCCF, the unceasing tension between music creators and technological development—highlighted by discussions of streaming royalties and antitrust regulations—is concealed.
Written by Shih Chang. On October 25th, 2020, an exhibition commemorating the 75th anniversary of the recovery of Taiwan from Japanese colonial rule was held at the National Museum of China. The exhibition is divided into six sections that aim to show the “complete history” of the island of Taiwan from ancient to modern times. The first four sections: “Treasure Island, Taiwan,” “Nine States of Common Sorrow,” “Protecting Sovereignty against Japanese” Sovereign,” “Long Song as a Sword,” “Taiwan fending off the Japanese,” and “Cross-Strait Dreams,” objectively recreates the history of Taiwan’s “return to the motherland” and the development of cross-strait relations.
Written by Yi-Yu Lai. “Have you ever watched Meteor Garden (流星花園) before? I was so crazy about Dao Ming Si and his gang before!” Many Taiwanese might be familiar with the similar conversation when they first met their Filipino friends. Since my friends know I am from Taiwan, they sometimes asked me to sing its theme song Qing Fei De Yi (情非得已) for them. They also love to hum the tune to me, though they cannot speak Mandarin at all.
Written by Brian Hioe. Taiwan may have a long way to go with regards to this before achieving anything like the successes of the Taiwanese New Wave some decades back. This ultimately returns to issues that exist on multiple levels, all the way from within the film industry to government promotion of Taiwanese films.